mtheory

Cinematocrapper sounds like it could be a thing.

​Make a film, a music video or a commercial. Everything else...absolutely everything and anything else...is videography, not matter how "cinematic" it is.
And Rodriguez didn't shoot weddings.

I sold my FS700 and bought a KineMINI, and I'm very happy I did. The only thing I miss are the ND filters. Cineform in 4K would be nice, because the trascoding takes a while, but at least we have Cineform in 1080p, 2K, 3K, and S16mm crop mode. Hopefully they update the codec to 64bit, like Rob said. Maybe we can get some higher frame rates too in 4K. The controls are much easier to manage than the FS700. At first the wheel was a little weird, but now it's very easy to manage. For me, it works great as a run and gun type camera too… definitely more ergonomic than the FS700, especially with a V-mount battery on back. You can mount an audio recorder(plugged into KineMini) on one side(1/4 20 mounts on both sides) and a wireless receiver on the other with quick release plates, and it works great. 

Canon is going after Phase One's IQ250, which has 50MP, a 2.5xFF sensor but starts at $35,000. While they won't be able to match the quality of IQ250, they may just achieve an 1/2 or 2/3 of its performance for 10x times the price. It would actually create a completely new market, a to-own medium format market with massive volume sales and also retain Canon users who would otherwise have jumped ship to a new ecosystem. Very smart.
Most of the ex-Canon photographers I know have either gone to Nikon D4s or IQ250 for low light sensitivity and better IQ, respectively. So 5DS and 5D4 are probably meant to stop this from happening. 

​You are right of course, but it's all taken out of context. Having seen some threehundred big scale prints by Meyerowitz in two hours, I dare to divide them roughly in three completely different styles: 
1. Portrait photography. Here is one of the most famous:

2. Landscapes and the like. Big enlargements, photos taken with an 8 x 10 camera, Ground Zero is a motif:

3. ... and, finally, his own specialty, 'street photography'. Snapshots of people on the street. To anticipate where they will be in the next blink of an eye to get exactly the composition he feels right at the given moment, he has to watch what's not yet in his frame. That's where the 'primitive' Leica comes in handy ...

(looks staged, but isn't)

KineMINI just keeps on giving...

http://www.robbannister.com/modified-speedbooster-for-the-kinemini-4k/
 

Leon is his best film.

​I think it was because the Magic Lantern has entered the project Apertus .... Canon afraid !!!

This is a potential signal that 5D4 is going to be unhackable. It is rumored to be announced in about a month, and I'm pretty sure many video users will be holding off on a 5D4 purchase until ML hacks it. I know I will. So they could be trying to pre-emptively neutralize 5D3 to leave people no choice once everyone realizes the RAW party is over... 

​The poor Nikon didn't make it to the 4K party

I love that you have the nikon there, as a lab animal  
 

Eventually a fork becomes a spork. Convergence
Development of the fork forks off.

First man in space would disagree. 
​

My biggest moment was this summer when I got my first job as a DP on a childrens feature. It is the second biggest cinema opening of an Icelandic film in Iceland ever hehe(the kids love these guys and this was their 4th movie)
Shot with C300 and C100 with Atomos Shogun and Ninja. Canon Cine Primes.
Shot this summer, premiered 31. october
 
Sorry, no english subtitles.

Unfortunate philosophy? Their country was dragged into a Cold War crossfire between communism and capitalism, and they are all basically hostages to a bunch of communist fanatics at the top. Their real Korean culture and philosophy and way of life have been completely suppressed. To call their situation a 'philosophy' is abit like calling Jews' life in concentration camps a philosophy, it's basically blaming the victim. Who the hell taught you to think like this? This shit baffles me...
 

For the price of C100MK2 one could get a much better Cine kit with:
 
Sony A7S Body $2,499
Metabones EF Adapter $399
DJI Ronin Stabilizer $2,999
 
This setup will significantly minimize rolling shutter, lights investment and provide a better post experience with a 4K upgrade option for the future. Plus, you can swap out the body for A8S or 5D4 when it comes out for example. Much more modular. 

Looks great...but damn...they just couldn't get those holy skin tones right. What a bunch of amateurs. Oh wait...
 

Looks great...but damn...they just couldn't get those holy skin tones right. What a bunch of amateurs. Oh wait...
 

Canon's last great camera, before the era of microwaved meals like the 7D Mark II.

I am forced to blow my own trumpet again - and with my back ache, I need to limit how much I do this! :)
 
I am absolutely certain that there is a difference between rendering of imagery between smaller and larger sensors.  I see a difference, and obviously professionals who spend £80k on a medium format digital back see it as well - otherwise they'd just shoot 36x24 and pocket the difference.
 
 
 
What you are disregarding is that dof isnt just about the ratio between the in focus and out of focus blur.  It's about the intimate step between the two.  Generally when comparing a longer and a shorter focal length (both of the same quality), the longer focal length will be higher resolution with less aberrations, distortion, and less vignette wide open.  This is known as a rule which is rarely broken.  a fast 50 will always be better than the same quality fast 35mm.
 
when you add these apparent strengths of a longer focal length and then obtain a wider fov by increasing the format size you maintain the quality of the longer focal length while gaining the same fov as the wider lens delivers on the smaller format.  This is what makes the difference - the ratio between in focus resolution and the amount of blur is contributing to the clear difference between how different formats render the same fov's.
 
The reason fast zeisses lenses are known to have their 'zeiss 3d pop' is because they are able to deliver large amounts of defocus blur while also delivering very sharp in focus subjects.  A 50mm 2.8 hasselblad distagon on 6x6 format 50iso will out perform a 25mm f1.4 (if there was such a thing worth mentioning!) on s35mm at 50iso when we consider both will render similar fov and dof ratio but the 50 f2.8 distagon is razor sharp at f2.8 and the 25mm f1.4 will be nasty and need to be closed to f2.8-f4 before it comes close to the resolution of the 50.
 
the 25mm will be 'in focus' on the subject,  but in comparison to the 50mm lens the in focus area won't look sharp.  

Yeah maybe I should have allowed multiple votes, but I think this might be more fun. There is so much you can do with two primes (a wide and a long). I also really like my 24mm and 85mm, but on S35. The 24 has low distortion, enough background de-focus (2.8) and not too weird perspective (what is the term for the opposite of background compression?). 85mm is a beautiful focal length and I would probably have chosen that if it wasn't so limiting on S35.  :)

Absolutely, raw is still a benchmark for ultimate image quality. Let's be clear, I'm not denying that.
 
For me, now it's all about how close we can get to that beauty....but with more practical solutions like the GH4, A7S and D750.
 
I am over regular raw shooting now, as I ran out of space at the local aircraft hanger where I stored my hard drives.